CONFORM PREP GUIDE
This guide will help you prepare your edit for conform and color grading inside DaVinci Resolve. The Conform Prep Guide serves as the primary structure, with relevant elements from the Color Prep Guide incorporated for a seamless workflow.
📁 GENERAL PREPARATION
Before starting, ensure your project is properly organized for a smooth conform and color workflow.
If Delivering via Physical Drive:
Duplicate your sequence to preserve the original.
Bring the project file with you for any last-minute tweaks.
Use a Mac/PC-compatible drive (ExFAT), with USB-C, USB3, or Thunderbolt 3.
If Delivering Digitally:
ZIP the main folder before uploading.
Use Google Drive or MASV. (Frame.io guest access available if needed.)
For rushes over 250GB, contact us to arrange a transfer method.
🎞️ CHOOSING YOUR WORKFLOW
There are two main workflows for preparing your project:
1️⃣ Source Media Workflow (Preferred): Ideal for maximum grading flexibility.
2️⃣ ProRes Workflow: Used when working from a single high-quality master file.
1️⃣ SOURCE MEDIA WORKFLOW (Preferred)
A. Timeline Prep (*any native Davinci Resolve transition/effect/etc. can be left in)
Duplicate your timeline (e.g., “For Color”).
Collapse to 1–2 video tracks.
De-nest all compound/multicam clips.
Repositions and zooms can be left in. Keyframes should be reset.
Remove all empty audio/video tracks.
Remove all transitions, graphics, subtitles, supers and effects. Your timeline should only have the source media.
Replace proxies with original source media.
Trim clips to only what’s seen in the final edit (no extra handles).
Retimes: If coming from Resolve, keep those intact. If coming from other NLEs, please pre-render those shots with ProRes4444 OR include the full duration required for the retime.
Split screens / PiP: Include original isolated clips used in the comp at the end of the timeline separated by a gap.
B. Exporting XML/AAF for Conform
Premiere & Final Cut: Export XML.
Avid: Export AAF.
DaVinci Resolve: Export DRT.
Before Exporting:
Flatten to single/few tracks.
Make sure all clips are properly framed: no letterboxing or pillarboxing.
C. Deliverables Checklist – Source Media Workflow
✅ Original Camera Rushes (RAW, ProRes, DNxHR, etc.)
✅ Reference File (H.264 or ProRes Proxy) with graphics and looks
✅ XML / AAF
✅ Any LUTs, reference stills, or effect comp references
2️⃣ PRORES WORKFLOW (Single File)
A. Timeline Prep
Duplicate your timeline (e.g., “For Color”).
Collapse to 1–2 video tracks.
De-nest all compound/multicam clips.
Repositions and zooms can be left in. Keyframes should be reset.
Remove all empty audio/video tracks.
Remove all transitions, graphics, subtitles, supers and effects. Your timeline should only have the source media.
Replace proxies with original source media.
Trim clips to only what’s seen in the final edit (no extra handles).
Retimes: If coming from Resolve, keep those intact. If coming from other NLEs, please pre-render those shots with ProRes4444 OR include the full duration required for the retime.
Split screens / PiP: Include original isolated clips used in the comp at the end of the timeline separated by a gap.
B. Exporting Master File
Format: ProRes 4444 or DNxHQX 10-bit (Windows)
Resolution: Match final delivery
Use highest render quality settings
Export a separate reference file with titles, graphics, and full mix
Export EDL from the timeline
Include style guides or reference stills if available
C. Deliverables Checklist – ProRes Workflow
✅ Clean Master File (ProRes 4444 or DNxHQX 10-bit, no LUTs or effects)
✅ Reference File (ProRes 422 Proxy or H.264 with graphics/audio)
✅ EDL for conform
✅ Any LUTs, reference stills, or effect comp references
📩 QUESTIONS?
Contact Khalif at hello@khalifsultan.com
Looking forward to grading your project! 🎨